If the brain werea perforated can of olive oilthat issues the thickness of its greenish liquidonto a series of dislocated words, no.

…

To beginan electrician isn’t an electricianbut rather a man that works as an electricianthough in the night he thinksthat his veins are cablesthat transmit residual wattsfrom his daily work.

…

If the tomato saucedoesn’t dye the noodleswith Bordeauxit’s disgusting

…

Lightning’s intelligencewithout ideas is its velocity.Naked eyes can’t seean entire lightning bolt.Lightning is liquid time.All of this is refutable.If it’s truethat lightning comesfrom behind to becomea blaze of light in the black daythen lightning definesthe symbols of the future.

…

A lightning bolt is oneit doesn’t belong to a speciesEach lightning boltis the lightning boltof the same lightning bolt.Branches of the same source of light.

…

The coast exists. He saw the red beachtransform itself into a fundamentalist beachand it’s a beach innothing, in a beach;no man’s land without customs full of sandlice, sea sponges, flying-ants, a placewhere your friends from grammar schoolcan talk safely about police brutality

…

Words that come out of the teethwords that come out of the septumwords that come out of the stomachand not one or almost not oneword that reaches the lungs

…

A sign that says CLOSEDon one side OPENon the other

…

What is this. Clover.How does it grow. Let’s see. Cloveror strawberries I don’t know. The plants are there.He names them and they’re there. He doesn’t name themand they’re not there.

…

I’m affiliated with the unionof Dubitation

I’m affiliated withthe union of Dubitation

I’m affiliated with theUnion of Dubitation

Translated by Alexis Almeida

Alexis Almeida’s recent work has appeared or is forthcoming in Folder, The Brooklyn Rail, Gulf Coast, Bone Bouquet, and elsewhere. She is the author of Half-Shine (Dancing Girl Press, 2016), and the translator of Roberta Iannamico’s Wreckage (Toad Press, 2017), and Florencia Castellano’s Monitored Properties (Ugly Duckling Presse, 2016). She makes broadsides for 18 Owls Press, and lives and teaches in Providence, RI.

Martín Gambarotta has published three books of poetry: Punctum (1996, republished in 2011 and 2017), Seudo (2000, republished as an expanded version Seudo/Dubitación in 2014), and Relapso+Angola (2005). The chapbook Para un Plan Primavera was published in 2011. Between 1996-2006 he was editor of poesia.com, a website dedicated to contemporary Latin American poetry. For many years he was news editor and political columnist with the Buenos Aires Herald.

BOMB Magazine has been publishing conversations between artists of all disciplines since 1981. BOMB’s founders—New York City artists and writers—decided to publish dialogues that reflected the way practitioners spoke about their work among themselves. Today, BOMB is a nonprofit, multi-platform publishing house that creates, disseminates, and preserves artist-generated content from interviews to artists’ essays to new literature. BOMB includes a quarterly print magazine, a daily online publication, and a digital archive of its previously published content from 1981 onward.

Annually, BOMB serves 1.5 million online readers––44% of whom are under 30 years of age––through its free and searchable archive and BOMB Daily, a virtual hub where a diverse cohort of artists and writers explore the creative process within a community of their peers and mentors. BOMB's Oral History Project is dedicated to collecting, documenting, and preserving the stories of distinguished visual artists of the African Diaspora.

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